May 2015 Blindspot: Breathless – À bout de souffle (1960)

One of the fun things about participating in this Blindspot series is to familiarize myself with certain genre or film movement. I actually picked this one rather randomly, not realizing this was part of the French New Wave, which happens to be the renowned French auteur Jean-Luc Godard‘s first feature film.

Films set in the City of Lights are always welcome in my book, and this one looks absolutely spectacular in black and white. I find myself paying more attention to the gorgeous city than reading the subtitles, but it seems the filmmaker seems deliberately more concerned more about the presentation than its narrative. Breathless is unabashedly stylish and cool – chock full of gorgeous scenery, good looking people and chic Parisian fashion.

Jean Seberg is simply adorable in her pixie cut and cat-like eyeliner whilst Jean-Paul Belmondo is all rebellious swagger. As the film’s antihero Michel Poiccard, he’s unscrupulous through and through, but definitely not without charm.

A small time thief who nonchalantly kills a cop who pursues him, he just as casually hits a man and hides him in a bathroom stall without blinking an eyelid. Michel is one smooth bastard, yet somehow she gains the affection of Patricia Franchini, an American journalism student he’d met up in Nice a few weeks earlier. Their first meeting as she’s selling newspaper is infused with so much style. C’est magnifique!

There’s such a relaxed, leisurely tone to the movie that fits the message that celebrates freedom and independence. It’s apparent in their conversation and action of the leads how much they value their liberty. Some people might find this movie boring, especially the scene in Patricia’s flat where they spend 20+ minutes simply talking, and Michel trying to get under her skirt, but not much happens. Yet I’m quite enthralled by it all, there’s a certain charm in the forthright conversation between them despite its unabashed crudeness. Michel’s vulgarity and persistence in getting her to bed is contrasted by Patricia’s almost childlike innocence. She somehow remains unaffected by his mercurial mood and she has such a sweet way of rebuffing his advances.

I find Michel’s utter ignorance and lack of culture quite hilarious.

Patricia: Do you know William Faulkner?Michel:No. Who’s he? Have you slept with him?

I read later how this film became the quintessential film of the French New Wave, which is described in Wiki as having a documentary-style format, feature existential theme laden with irony and sarcasm. It’s clearly a risky move back then to create a film like this. Per IMDb trivia, its star “[Belmondo] was very surprised by the warm reception the film received. Immediately after production he was convinced it was so bad that he thought the film would never be released.” I don’t think even Godard or Truffaut would be so well-received, nor would they predict the film would become such a pop culture icon. I’ve been reading some articles on this that cite how influential Godard’s debut is even to this day.

Visually the film is truly a work of art. Nearly every frame is like a postcard of Paris. It’s an amazing feat given the low budget. Apparently Godard couldn’t afford a dolly at the time, so he pushed cinematographer Raoul Coutard around in a wheelchair through many scenes of the film. I love how in many scenes I felt like I’m viewing the city through the eyes of the characters, strolling pass Paris landmarks like the Eiffel Tower, Champs-Elysées and café terraces. I especially love the scenes as they’re driving, whether with the top down in a Cabriolet or inside a Taxi like this scene below:

I found this photo of Coutard filming on a rooftop and clearly that’s how we get the sweeping view of the magnificent city. There are also the intriguing hand-held shots roaming a room, street, elevator, etc. that gives us a sense of realism.

I really enjoyed this one and even re-watched parts of it just before I published this review, the scene of the two leads in bed and the finale. Yes it’s perhaps simplistic narratively but Godard more than made up for it in style. This is one of those films I can see myself revisiting again later in the future and it’ll always make me reminisce about Paris. The jazzy music by Martial Solal complements it perfectly, sometimes the music even takes center stage, some scenes play out like a fashionable music video. It’s no surprise this movie’s been remade and Hollywoodized in 1983. I have no desire in seeing that one however, surely it could barely hold a candle to this original version.

Well, it’s been over a half a century since the film’s release and it’s only just my first intro into Godard’s work. I suppose better late than never, right? I’m curious to check out his other films, so if you have recommendations as to which ones I should watch next, do let me know!

This wasn’t just the first film by Godard that I saw but it was the film that introduced me to the French New Wave. It still feels very fresh whenever I re-watch it as I think it was quite ahead of its time and really said something new that needed to happen.

I have seen it on a couple of occasions and I like it well enough. My French cinematic leanings have been more of a contemporary nature but it is clear the impact that this film, which ushered in the French New Wave had on these films. I think of them as authentically French; they are rather light and breezy I like to think.

Hi Iba! I’m obsessed w/ anything French these days, thanks to my new crush. I’m glad I have this one on my Blindspot list, and it’s light & breezy like you said. There’s that leisure quality about it that makes it a fun watch.

Great read Ruth 🙂 I’ve been meaning to watch this film for ages, now I have more motivation. Sounds like my kinda thing. Thanks for the little shot video there, makes me wanna watch it even more! I love the music in the background.

Out of the mainstream of the time. With Goddard occasionally just sitting back and letting scenes happen. And Jean-Paul Belmondo channeling his inner and external Bogart in grainy B&W,

A grand example of the French taking on and improving on exported American B-Movies of the day. While introducing the “Quick Cut” in direction and lush, sometimes crowded, “Guerilla Style” cinematography,

Hi Kevin! I’m eager to check out more French New Wave film now. Belmondo’s character worshiped Bogart in his crime noir films, so yeah he was definitely channeling him. The camera work/cinematography was definitely ahead of its time, for French films anyway. Glad I finally saw a Godard film!!

Try the superb B&W shadowy, smoky and moody , ‘Elevator To The Gallows’ by Louis Malle. A neat disruption and messy consequences of an affair between an employee, his boss and his boss’s wife. With a riff filled soundtrack by Miles Davis.

This was my first Godard. I purchased it on a whim and was hooked. It’s not my favorite film of his, but it started my love, and a recent rewatch has me swooning again. Everything you said is exactly why Godard is such an important filmmaker. So glad you liked this so much!

I can’t say I’m into French New Wave films, I had to watch a few of them back in my early years of film study. I don’t think I’ve seen this one though, I know it’s been talked about for years and it influenced a lot of famous filmmakers today. I prefer the other European new wave of films, the Italian filmmakers such Fellini, Leone and Antonioni.

But now that I’m older, I might enjoy these French films, may have to see if any of them are on Bluray or Criterion.

Hi Ted! I can’t even tell you which films are considered French New Wave, but it’s always interesting just as a film fan. I need to see more of Fellini’s work too, esp 8-1/2. Breathless is a Criterion Collection.

Godard was certainly hit or miss especially later in his career but this is an absolute gem – truly a favorite of mine. It captures so much of the rebel filmmaking style that made the movement so important. Good stuff Ruth.

Hello Khalid, welcome to FC! I can see how people didn’t warm up to this film at first, it’s quite slow and not much going on, but somehow I was quite captivated by the frank dialog and of course Paris looks sublime in this film.

I only skimmed your review as this is my Blindspot for July! I don’t want to know too much about it before I watch it, but so far I’m pretty excited!
I love the picture of the cinematographer on the ledge. That’s amazing. I would love to be able to do that and live to tell the tale!

Hi Melissa! I’m glad I found that photo of the cinematographer, yeah that’s amazing that he’s up on the Paris rooftops. But the result of his work is amazing, it REALLY made me want to fly to Paris pronto! Hope you enjoy it as much as I did.

About me

Hello I'm Ruth! Film is in my blood. LOVE movies of all genres, from Jane Austen to James Bond. Official blogger for the Twin Cities Film Fest (TCFF). I've recently completed my first feature screenplay & produced my first short film HEARTS WANT. Visit facebook.com/heartswantfilm

Trivia on Blade Runner 2049

Denis Villeneuve noted that he's fully aware of the immense pressure he's under, and how hardcore fans of the original view the prospect of a new film: "I know that every single fan will walk into the theater with a baseball bat. I'm aware of that and I respect that, and it's okay with me because it's art. Art is risk, and I have to take risks. It's gonna be the biggest risk of my life but I'm okay with that. For me it's very exciting... It's just so inspiring, I'm so inspired. I've been dreaming to do sci-fi since I was 10 years old, and I said 'no' to a lot of sequels. I couldn't say 'no' to Blade Runner 2049 (2017). I love it too much, so I said, 'Alright, I will do it and give everything I have to make it great.'"

Initially, Denis Villeneuve was against the concept of a sequel to Blade Runner (1982), as he felt it could violate the original. But after reading the script, which he and Harrison Ford have described as "one of the best" they have ever read, he committed to the project, stating that Ford was already involved at that point: "To be very honest with you, Harrison was part of the project before I arrived. He was attached to it right from the start with Ridley [Scott]. I met him and he's honestly one of the nicest human beings I've met and is one of my favorite actors of all time, so for me it's a lot of pleasure."

Jared Leto was introduced to Denis Villeneuve by his close friend Jean-Marc Vallée, who had directed Leto in Dallas Buyers Club (2013).

Emily Blunt was considered for a role but she declined due to her pregnancy.

This sequel is set to be released on October 6, 2017, just ten years and one day after the Final Cut version of the first film premiered in Los Angeles.

The sequel which takes place 30 years after Blade Runner (1982) is the story of new Blade Runner Officer K (Ryan Gosling) as he searches Rick Deckard (Harrison Ford) whom has disappeared. In Harrison Ford's earlier science fiction film Star Wars: The Force Awakens (2015) which took place 30 years after Star Wars: Episode VI - Return of the Jedi (1983), The film's main protagonists Rey (Daisy Ridley) and Finn (John Boyega) are searching for Luke Skywalker (Mark Hamill) whom disappeared. Harrison Ford played Han Solo in the Star Wars films.